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Milestone 34, Expose ESS’ interoperable services to external consumers, was achieved on 17 December 2021. The new system gives users access to the data catalogue of the European Social Survey (ESS) from the new data and metadata repositories via https://ess-search.nsd.no/en/all/query/.

Analyzing the current political scenario, it is good to mind the ‘distribution of the sensible’ as phrased by Jacques Ranciére, which refers to a regime and delimitates spaces and times, of the visible and the invisible, of speech and noise;and to think about possible re-distribution, which has emancipating character that can contribute to more democratic politics and aesthetics. In contemporary times of visual culture, it is important to mind especially strong, symbolic images constructed for political stakes and distributed in the public sphere to understand what they do and how, in order to disarm and transform them. Focusing on two faces of backlash observed in contemporary Europe, one anti-Muslim and the other anti-women, we propose the interdisciplinary analysis of two artworks by Polish female artists: The Polish Burqa by Karolina Mełnicka (2013) and Mokosh by Katarzyna Górewicz (phot. Jacek Gajak, 2017), which imply discourses on women in tradition in different ways that might be considered as dialectic and symbolic in Ranciére’s terms. One is decomposing the politically oppressive use of traditional symbols, and the other is proposing a reference to tradition in an empowering way. Analizzando l’attuale scenario politico, è bene ricordare la ‘distribuzione del sensibile’ come l’ha formulata Jacques Ranciére, che fa riferimento a un regime e delimita spazi e tempi, del visibile e dell’invisibile, della parola e del rumore, e allo stesso tempo pensare a una possibile ridistribuzione, che ha un carattere emancipativo il quale può contribuire a politiche ed estetiche più democratiche. Nell’epoca contemporanea, dominata dalla ‘visual culture’, è importante pensare a immagini simboliche particolarmente forti, costruite per la posta in gioco politica e distribuite nella sfera pubblica, per capire cosa fanno e come, al fine di disarmarle e trasformarle. Concentrandomi sulle due facce del contraccolpo osservate nell’Europa contemporanea, una anti-musulmana e l’altra anti-donne, propongo l’analisi interdisciplinare di due opere di artiste polacche: The Polish Burqa di Karolina Mełnicka (2013) e Mokosh di Katarzyna Górewicz (foto Jacek Gajak, 2017), che implicano discorsi sulla donna nella tradizione in modi diversi che potrebbero essere considerati dialettici e simbolici nei termini di Ranciére. Uno sta scomponendo l’uso politicamente oppressivo dei simboli tradizionali e l’altro propone un riferimento alla tradizione in maniera emancipante.

This article focuses on the work of Jewish Austrian photographer Dora Kallmus, also known as Madame d’Ora, the name she assumed in 1907 when she opened what was to become one of the most important photography studios in Vienna. In the 1920s, Kallmus opened a studio in Paris, where she excelled as an innovative fashion photographer and created portraits of the leading cultural figures of her time. This article centres on the dramatic shift in the kinds of images Kallmus created in the aftermath of the Second World War, when she photographed people in refugee camps in Austria, and in the abattoirs of Paris where Kallmus spent the final decade of her life creating a series of photographs of dying and dead animals. In order to understand these photographs and their powerful affective charge, the article argues that it is necessary to consider them not only in relation to the body of work Kallmus produced before the war, but to read them in relation to the catastrophic events that effectively destroyed both her life and the social world she inhabited. I read these images as an expression of Kallmus’ views on society and the practice and meaning of photography in the aftermath of the death camps, and compare this to the post-war thought of political theorist Hannah Arendt. Through my readings of Kallmus’ slaughterhouse series, I seek to show not only how the images reveal the photographer’s own psychic pain but also insist on a confrontation with the painful truth of the Shoah. The desire to avoid this painful reckoning, I argue, provides a reason for why this series has been largely ignored for the last six decades.

Presentation of the project on including society into the care for cultural heritage at the Mutual Learning Exercise event on Citizen Science Initiatives organised by the Ministry for science, education and sport in Ljubljana.

The integration of SDI technologies and the reuse of archaeological fieldwork data allow to assess the impact of urbanistic and infrastructure development on open-air Mesolithic site’s preservation and provide precise information needed to develop CRM policies at local, regional, and national action levels. In this paper we present two case studies located in Eastern Spain: The Mesolithic open-air sites of Casa Corona (Villena, Alicante province) and El Collado (Oliva, Valencia Province). Both sites, were excavated in rescue operations in 2008 and 1987-1989 respectively, providing Mesolithic burials and human remains of major cultural and bioanthropological scientific significance. However, unexcavated adjacent archaeological areas of both sites have been partially destroyed afterwards. Here, we show how the combination of accurate imagery and LIDAR elevation data provided by public (free access) data repositories, primary archaeological spatial data acquired during excavations and published information digitized, can be effectively integrated using Geographic Information Systems to monitor the impact of urbanistic and infrastructure development on both sites and perform risk assessment for future planning. We believe this case study exemplifies the benefits of applying the FAIR principles to Mesolithic archaeological data. We hope that this example will encourage similar actions from fellow professional archaeologists and will foster efficient conservation strategies from public and private stakeholders.

These presentations are provided as videos on our YouTube channel before the Open Phytoliths Community launch Event on 4th October. You can find our YouTube channel playlist for this event here: (1) Open Phytoliths Community Launch Event - YouTube These presentations are meant to raise suggestions, opinions and discussions about open science and how it can be explored and implemented in phytolith research. The presentations are about: Open Access Introduction to FAIR Interoperability Localisation and translation The presentations on Localisation and translation are located under a different DOI - the presentation slides by Maria Gabriela Musaubach can be found here: https://doi.org/10.5281/zenodo.7098061 and Jennifer Bates talk can be found on YouTube (there are no slides). The FAIR Phytoliths project has received funding from EOSC-Life to support this community initiative. 

Often in a virtual reconstruction process, the efforts are mainly addressed to obtain an excellent and photorealistic outcome, not taking care of the risk of dramatically losing all the intermediate data processed and the knowledge of the process itself, which we want to make consistent with the Findable, Accessible, Interoperable, and Re-usable (FAIR) principles1. Thus, we need to consider and overcome some general issues inherent in the processes of the virtual reconstruction of a cultural object. For example, raw data collected during the survey campaign are often stored on various media without creating a proper data structure to preserve their logic and semantic meaning over time. Furthermore, the entire reasoning process is often described in a single scientific publication, which, although of value, describes the decisions taken in a narrative and non-specific way. Recently, these ambitious challenges have been addressed within the Social Sciences & Humanities Open Cloud (SSHOC) project2 as a dedicated case study of the Roman Catania theatre, for which we made a new virtual reconstruction. Part of the data collected comes from earlier projects which provided a hypothetical reconstruction of the Roman theatre.

These vignettes are inspired by Mendel’s 200th anniversary and my August 2022 visit to Brno, Czech Republic. The first geneticist was a plant biologist.